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Rivkin last won the day on February 14 2021

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    Kirill R.

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  1. I think the difference is simple. Someone has blades that tell three or four stories on three or four topics. Consider paying $$$$ to secure the "missing" blades to make these stories complete? No. Neither would 99% of better painting collectors. But in coins or stamps or military decorations you are supposed to spend (max) couple of years before you accept a specialty and collect absolutely every single upper grade item in your topic to tell a "complete story" You don't have the gold denarius with a bull torso reversed to usual - you are just not a proper collector. Better spend $$$$ the next time such piece comes for auction, or you can't show your collection to serious people. "Oh... but he does not have the reversed bull, which is the most rare of them all...". There are exceptionally few paintings or nihonto collectors like that. There are many who collect only koto or even only pre-Muromachi pieces. This does not make them topical collectors or focusing on one theme. Focused collectors are those into Satsuma, or early Soshu or Ichimonji only. This is high end collecting and its not for everyone to begin with. In the same way there are exceptionally few paintings collectors who are 100% Durer. Or even 100%: Master of the ... + Durher + say Danube school. Topical collectors are a bit more common in this field, but still most high end Durher or Durer time collectors will have a wide collection of roughly similar taste and maybe roughly similar time, but that's about it. The top Durer expert of our time owns Rembrandt, Leiden and God knows what else. Its absolutely normal. In the coin world everybody would laugh at him because his collection is not focused on telling one story and telling it in the best way possible. Well, neither did Bigelow's. And its ok to be Bigelow or Compton. Their collections educated hundreds. What was accomplished by the focused, topical collectors who tell a story? Except Pechalov... Well, not much.
  2. I never understood why a recommendation to be a topical collector, i.e. having a very limited collection dedicated to a very narrow and precise topic, is something commonly repeated in nihonto. There are very few such collectors in nihonto. People who give this advice... they are topical collectors? Hm... Was Compton a topical collector? Or probably the most important Western collector - Bigelow? No. Neither was Festing nor dozens of lesser known collectors. There are subjects like coins or military decorations, where most successful collectors are topical. They collect Roman Empire between this and that, or specific Greek colonies or else. Its natural for them to have narrow specialization because otherwise there is not much point in collecting these items. You simply can't collect just "coins" with any measure of success. In nihonto if one sees A+ sword for little money, one buys it and keeps it in the collection. Therefore - almost complete absence of topical guys. People have preferences but almost no one is hard limited to a specific topic and die hard motivated to extend his collection in this specific topic only. Exceptions are a few gentlemen at Very high level who basically allocate $ and buy consistently say all Ichimonji blades on sale above certain level, and do it for Y years. To give advice "be like them" to a beginner is a stretch at best.
  3. Kasane measurement could be helpful in cases like this one. Its one of those cases where sugata has the most likely interpretation, but there are less likely but legitimate possibilities, I guess.
  4. Mid Muromachi tanto. Regarding the school, it would difficult to be precise. For example, Ryokai. Nobukuni. Bungo. etc. etc.
  5. personal opinion: These blades are nothing like Aoi's example. They are very much on the Soshu end of the spectrum. Nie based, even choji are neither well defined nor isolated, instead you basically have gunome-togari. Alternative attributions tend to be either some sideways Soshu-Mino names like Kinju or Kanenobu, or Sa lineage or Naotsuna group. Basically "Western Japan's Soshu" against Eastern Japan's style which would tend more towards Hasebe-Norishige kind of thing. The blade in the thread's subject is as Bizen as they come.
  6. .... ..... Thy shall not overbid mine.
  7. Not a typical Omiya. With Omiya and its "sort of" cousin school Hojoji you don't expect much of utsuri, but hamon tends towards nie (this one is pure nioi), often with lots of sunagashi. They tend towards Soden Bizen. This one almost says Muromachi Osafune, but boshi is earlier, and there are some jigane differences as well. This attribution I would say is on a heavily mainline Osafune-styled side of Omiya. Its a good blade nevertheless. The polish appears to be excellent. Koshirae is quite good. Fittings are 19th century, but menuki is really nice, fk is above average, saya is good with some recent repairs. P.S. Far more so than with the mainline Osafune and Kozori, a LOT of Omiya is unsigned and signature premium one expected to pay can be biting.
  8. Its rusted and not much is seen but from what is available its in Ichimonji style and boshi appears to be sugu. That can limit it either to mid-Kamakura or shinto, probably Ishido. Kamakura you would expect substantially lesser beefy blade, and the shape is a bit of a stick with some curvature, so my very preliminary guess given the condition would be 1640s, Ishido. Would be interesting to check if boshi is really suguha. If its not, then the options are shinshinto or some koto....
  9. Well by the time I am finishing it, I am ending up echoing the previous statement. its ubu (sort of) which is unusual for the period. Otherwise jigane is very rough, it reeks of Muromachi spirit rather than Kamakura. Hamon is good, but nothing one would not expect from any shikkake out there.
  10. Rivkin


    Unfortunately I don't know what are the topics for this or following months, and its unfortunately a long drive. Satsuma is such a wide definition - does it include the objects from the sale, Naminohira or just the late smiths etc.
  11. Rivkin


    I can't be sure, but: I think the shape was popularized by Kotetsu so you don't really see it before him (there is related late Momoyama shape, but quite different still), Inoue Shinkai did his usual waki-sticks... Maybe he wanted to disproof everyone believing that the first sign of great sword is great sugata. After Kotetsu it was practiced quite often by Satsuma (maybe since they were effectively the only conistantly competent smiths in the 18th century) and through them got to Suishinshi Masahide who produced a lot of works in this sugata.
  12. Rivkin


    It's Mondonosho Masakiyo. I bought it without papers but obviously I saw the signature... which is btw not the most typical for him, so I was happy it papered - and possibly despite couple of kanji being a bit off... well, he did change the writing somewhat over the years and right before he went to the Shogun, so probably its from this time My take is that there are couple of things here. First there are well defined "gaps" in nie right in the middle of hamon. This is something popularized by Inoue Shinkai and after him a lot of Soshu style works tried to do this. But Shinkai would have dense, Osaka-style jigane. Here the jigane has almost koto feeling, with wide elements, somewhat rough and darkish, with ara nie. We'll see this jigane a lot in shinshinto but with much more ara nie... Its Satsuma. So its a top quality shinto work in Soshu style with Satsuma jigane.... Masakiyo.
  13. Rivkin


    Negative on timeline and it is a relatively big (well shinto considered) name. Not Kotetsu.
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